oxical reception and reputation. In Japan, it is just as well considered as Isao Takahata’s other two entries in the World Masterpiece Theater, with entire generations of animators (chief among them Takashi Nakamura, Satoru Utsunomiya and Toshiyuki Inoue) counting it as one of their sacred texts. In English-language discourse, while Marco is extremely well-considered among those who have seen it, their number is small, and Marco is far from being as popular as Heidi or Anne. This article will not aim to provide reasons for this state of affairs, but to give a thorough presentation and commentary on Marco and its importance in Isao Takahata’s career, the World Masterpiece Theater, and anime history at large.
Flanders is among the most well-known works in the World Masterpiece Theater canon, both in Japan and overseas; it is perhaps the most famous outside of the select list of Isao Takahata’s entries in the series. Such fame is not surprising when one considers Flanders’ tragic finale, and the fact that this ultimate episode reportedly reached the highest audience rating in the history of the World Masterpiece Theater - an impressive 30.1%. However, it is also questionable whether such fame is really deserved - indeed, Flanders is perhaps the most imperfect show among 1970’s World Masterpiece Theater entries. There is of course a sort of contradiction here - how is it that such a poorly made series became so popular? The aim of this article is precisely to answer this - to illustrate the elements that make Flanders a subpar work, and to understand how it could have been such a success nevertheless.
Heidi, Girl of the Alps needs no introduction. One of the most important and influential works in the history of Japanese animation, Isao Takahata’s first series for Zuiyo Video would set a gold standard for all subsequent World Masterpiece Theater entries. Much has already been said about Heidi, especially on its status as a so-called “pre-Ghibli” work or on how representative it is of Takahata’s style and philosophy. Considering the theme of this series, this article will instead put Heidi back in its historical context: that of the extended World Masterpiece canon, and of 1974 anime.
Yama Nezumi Rocky Chuck, known in the English-speaking world as Fables of the Green Forest, can be considered the first show to fit into the extended World Masterpiece Theater canon: it was the first production of studio Zuiyo Video, which would become Nippon Animation, to take place in the consecrated Sunday 19:30 time slot on Fuji TV.
In 1973, anime celebrated its first decade of existence. But the anime industry in 1973 was almost a world apart from what it was 10 years earlier : the production system had become almost set to what it mostly still is today, the manpower had immensely grown and the studio organization had evolved. Moreover, new people had started producing their own original works, people whose names would be among the most famous in anime history.